Releases

video: https://youtu.be/zPM3oNXSucI

spotify: https://open.spotify.com/track/0GqBZR8wvFD42SUf7TGS4N?si=db5f7707d8084d76

oxhy - send them away

This is a rearranged version of the song skinny jeans by NEW YORK — go support their music

NEW YORK - skinny jeans (Rearrange)

Amnesia Scanner & Freeka Tet - STROBE.RIP
Label: PAN
Cat.No.: PAN 139
Release Date: 16 June 2023
Purchase: PAN.lnk.to/STROBE.RIP

Amnesia Scanner’s third full-length album titled STROBE.RIP is a collaboration with the artist and musician Freeka Tet, who joins the album and associated live performances as a vocalist and creative collaborator.

Released by PAN records, STROBE.RIP is part of a broader series of live performances, installations, videos and physical products created by the group.

Since its inception in 2014, Ville Haimala and Martti Kalliala have continued to evolve and redefine Amnesia Scanner through experimentation across online and IRL realms. This album brings them a step closer to the latter.

With French-born, New York City-based Freeka Tet on board, STROBE.RIP acquires a new array of influences that draw from the multidisciplinary artist’s hacker mindset, shaping the sound into new forms. As a programmer and technologist, Freeka Tet’s work straddles commerce and art, combining intuitive and performative modes of expression with emergent technology and creative coding. Much like Amnesia Scanner, Tet draws from online vernacular and techno-magic to create satirical, uncanny work – artificially augmented, and highly engineered sounds, textures, images and ideas that translate memes and code into a more human and affective language.

Haimala and Kalliala say, “Amnesia Scanner is now living in the world it has built,” signaling a sincere commitment to the act. The human dimension in STROBE.RIP is chaotic: a reverse hero’s journey that merges deep-fried baroque with the quasi-angelic into a psychotic megamix of tropes, lyrics, genres, and sonic palettes that are both disorienting and deeply resonant.

The opening track Tongue Demons perfectly summarizes this, with blaring synth stabs and frenetic drum patterns paving the way for a broken melody arranged through a digital brass chord progression. Giggle and Bounds follow right after: two outstanding pieces of introspection signaling the melodic turn of the album, with the latter almost posing as a weirdo 2-step ballad filled with deep pads and pitched-up and down vocals.

The 160bpm, 4-to-4 pulsing kicks of Ledge and the palm-muted chords of Disperse serve as a perfect build-up to Ride, right in the middle of the tracklist: a summer hit from hell, a crooked saxophone-graced tune carried by a crusty, Balearic acoustic arpeggio. The alt acoustics continue with Damon, or at least before the track turns from Nirvana’s Unplugged to Slayer’s double kick drum pedals and becomes thrashtronica with Tet on screamo duties.

Things get softer with Clown, specifically in the chanted refrain, and even more aetherial in the almost trip-hop timbres of abandoned.club, where chopped-and-screwed vocals sing “I lost myself in the club.” Scorpions, Bats & Spiders is the abstract gem declaring the death of Deconstructed Club Music—a genre created by journalists and pioneered by the duo, among others. The words “deconstructed,” “club,” and “panel discussion” are spelled out in a vortex throughout the track as if they were to be carved on the genre’s imaginary gravestone. Closing the album, the saw bass of Cat serves Euro-electro à la Benny Benassi’s Satisfaction, while the doomed outro Merge closes the album in a triumphant aggregation of noise and pixelated drums that render the image of a crust-punk ensemble.

Written by Amnesia Scanner
Produced by Amnesia Scanner & Freeka Tet
Mastered by Enyang Urbiks

Amnesia Scanner & Freeka Tet - Clown (PAN 139)

(Sharbaugh)
Michael Ash Sharbaugh [ https://soundcloud.com/michael-ash-sharbaugh]: vocals, drums and drum machine programming, synthesizers and sequencer programming, sampler and sample-editing, and 'found sounds'
blazearmani [ n/a - 'https://freesound.org/people/Blazearmani/ ]: synthesizers and sequencer programming
Composed and Recorded ca. Novermber 13 to November 16, 2023.
sm15 [INST] [RAW] [32AIF].

WIP (ca. 2023): "Ever (Three Sheets To The Wind)" sm15 [INST] [RAW] [32AIF]

yr1.se/toxe2

Official music video: https://www.youtube.com/watch?v=FHDP-TZpm8M&ab_channel=Toxe

Som En Sol

Sync-Up

Three years after their debut album ‘When My Darkness Came To Light’, Exploited Body has returned with their new album ‘Here, I Abandon’.

‘Here, I Abandon’ marks a new beginning, documenting the grievous first steps on the path of healing. The title references reaching a point, where all that doesn’t serve oneself must be left behind. The record is an exercise in “noise pop”, featuring prominent vocals from Exploited Body while combining their signature blistering distortion with their love of catchy melodies.

The album opens with ‘Only Your Eyes Could See My Wings’, a fragile and minimal ballad dedicated to their partner, who helped them find their way out of their pain-shrouded mind. Emerging from the fog, echoing vocals and thunderous piano drones lead into the disarmingly vulnerable vocal passage, the most personal song Exploited Body has ever shared with the world. ‘Demon Of Hatred’ is a slow-burning mantra about ending the cycle of trauma that began long ago, that manifests itself as a rage-filled beast. The screeching metal and cavernous bells collide under the somber vocals until it’s all ripped to shreds by violent pillars of noise. ‘After All (In The Ruins Of Limerence)’ deals with losing oneself in another person and awakening from the fever dream that is limerence. Along with the swinging vocal melodies, the dissonant mechanical humming break out into an onslaught of distorted kick drums before dissolving into harmonic bliss.

‘Replacing A Scar With Another’ explores themes of self-sabotage and self-harm, how we often reject help that is offered to us, creating new wounds to tend to instead of mending the old ones and trading old harmful beliefs into new even more detrimental ones (“replacing a god with another”). ’Self-Surrender’ is about shame, self-deception, requesting others to ‘hold your light’ until the sun’s out while you wallow in the dark abyss of self-pity, but now the time to has come to face yourself. The ethereal production paired with a delicate melody is reminiscent of a haunting lullaby with ghostly voices creaking in the midst of ringing synths, before everything comes to a head for a disjointed crescendo.’ Abandon’ is the purge that marks the point of no return, stripping off your weakness piece by piece, like an exorcism through the brutal wall of noise that the song builds up to. The closing track ‘Tear Me Apart Until All That’s Left Is Love’ is the bittersweet moment of letting yourself disintegrate and splinter into pieces to make room for what lies at the core of it all. A soft landing back into your body, before the colossal aftershock kicks in and sends you on your way to what comes next.

The album is written, produced, mixed and mastered by Nori Kin and features artwork by Changeless-affiliated Helsinki-based photographer Markus Watkins & Nori Kin.

Here, I Abandon will be released November 1st via Changeless.

@exploitedbody

Exploited Body - Only Your Eyes Could See My Wings

Three years after their debut album ‘When My Darkness Came To Light’, Exploited Body has returned with their new album ‘Here, I Abandon’.

‘Here, I Abandon’ marks a new beginning, documenting the grievous first steps on the path of healing. The title references reaching a point, where all that doesn’t serve oneself must be left behind. The record is an exercise in “noise pop”, featuring prominent vocals from Exploited Body while combining their signature blistering distortion with their love of catchy melodies.

The album opens with ‘Only Your Eyes Could See My Wings’, a fragile and minimal ballad dedicated to their partner, who helped them find their way out of their pain-shrouded mind. Emerging from the fog, echoing vocals and thunderous piano drones lead into the disarmingly vulnerable vocal passage, the most personal song Exploited Body has ever shared with the world. ‘Demon Of Hatred’ is a slow-burning mantra about ending the cycle of trauma that began long ago, that manifests itself as a rage-filled beast. The screeching metal and cavernous bells collide under the somber vocals until it’s all ripped to shreds by violent pillars of noise. ‘After All (In The Ruins Of Limerence)’ deals with losing oneself in another person and awakening from the fever dream that is limerence. Along with the swinging vocal melodies, the dissonant mechanical humming break out into an onslaught of distorted kick drums before dissolving into harmonic bliss.

‘Replacing A Scar With Another’ explores themes of self-sabotage and self-harm, how we often reject help that is offered to us, creating new wounds to tend to instead of mending the old ones and trading old harmful beliefs into new even more detrimental ones (“replacing a god with another”). ’Self-Surrender’ is about shame, self-deception, requesting others to ‘hold your light’ until the sun’s out while you wallow in the dark abyss of self-pity, but now the time to has come to face yourself. The ethereal production paired with a delicate melody is reminiscent of a haunting lullaby with ghostly voices creaking in the midst of ringing synths, before everything comes to a head for a disjointed crescendo.’ Abandon’ is the purge that marks the point of no return, stripping off your weakness piece by piece, like an exorcism through the brutal wall of noise that the song builds up to. The closing track ‘Tear Me Apart Until All That’s Left Is Love’ is the bittersweet moment of letting yourself disintegrate and splinter into pieces to make room for what lies at the core of it all. A soft landing back into your body, before the colossal aftershock kicks in and sends you on your way to what comes next.

The album is written, produced, mixed and mastered by Nori Kin and features artwork by Changeless-affiliated Helsinki-based photographer Markus Watkins & Nori Kin.

Here, I Abandon

Exploited Body - Tear Me Apart Until All That's Left Is Love

Something To Hold Onto

Something To Hold Onto - Softer

Exploited Body - Helix / Unravel

Exploited Body takes it back to the club with their latest two-track offering 'Helix / Unravel' - a pairing, that meshes the intensity you've come to expect, with newfound high-speed break experimentations.

'Helix' is a spiralling fever dream, with drums of tungsten skitter through the blaring sirens and posessed screeches, showing no signs of slowing down. 'Unravel' is deliverance, release. Incorporeal voices echo through the cracks of the ferocious drums, eventually submitting to the soaring, euphoric synths signalling the escape from the cycle.

’Helix / Unravel’ is out now via Changeless!

Written, produced, mixed & mastered by Nori Kin.
Artwork by Jesse Draxler & Nori Kin.

@exploitedbody


Exploited Body -  Helix

Exploited Body -  Unravel

Taken from SBKT070: estoc - Are We Doomed to Bow to the Stupid and Cruel?
Release date: 26th June 2025
Artwork & Design: Amber Jean
Mixing & Digital Master: Nori Kin
Vinyl Master: Raphael Valensi

----

estoc presents the newest manifestation of her artistic practice: an attempt to make sense of a world seemingly hellbent on violence as its chief export. Art written as a direct response to the conditions felt both at home and watched across oceans through a phone. This album exists as an acknowledgement that our fates are inextricably intertwined, yet, our (temporary) comfort is extracted from the third world. Across 10 tracks the question is: Are We Doomed to Bow to the Stupid and Cruel? Answers are posed and then brushed away, like dust from a shelf. By the end, nothing is settled and we are left with more questions than answers.

Collaborators and co-conspirators weave in and out of the compositions, their presence felt as both adornment, and as integral infrastructure. DJ Haram opens the album with ‘Heretic’. Her voice swims through crackling noise, throbbing basslines — a guided meditation as much as a late night conversation. ‘The Weight’ follows directly after. AZADI.mp3’s smoky chants hover in the air above a smouldering fire of trip hop drums and synths, devolving to a miasma of distortion and swirling screams. The next song, ‘Where Do We Go Now’, builds and swells with rumbling synths, arriving fully as breaks crash forward and Military Scientist’s voice cries out over a chaotic sea. The first solo composition of the album comes in the form of ‘The Poison of the Centre’. A solemn yet off-balance meditation of drums, cut over an uneven and shifting beat. This rhythmic fervor is multiplied tenfold on ‘No Glory’, a harsh bath of bass and drums, constantly fighting for space to breathe through the manufactured scarcity of the mix.

‘Scorched Earth’ lends us our first breath of fresh air. Mia Carucci sings a lullaby over growling instrumentation, Exploited Body’s co-production threatening to boil over at any moment. A momentary break in the clouds, a beam of sunlight shines through before being quickly swallowed back up by the storm; gone as quickly as it came. It is here that we plunge even deeper, as the heartbeat of ‘Heaven Defined for Another’ rattles through. Machinery and exasperated breathing become inexorable, both driven to their breaking point by a rolling wave of thunder. This mechanical terror roils forth on ‘Cradling’. Miedo Total sets clattering steam and cogs over crying strings that threaten to throw themselves to pieces. The penultimate entry sees Violence lend voice and production to ‘Bones Broken, Many Things Left Unsaid’ — a deep terror lurches, shuddering and crashing like ocean waves. A gentle chorus of strings ushers in the final piece, ‘Scratch a Liberal’ — a rare, but fleeting moment of tenderness on the album. Heavy towers of bass throw the composition into shadow, tension builds and grows before collapsing in on itself, revealing the fear and violence at the core of this project. At the end of it all, we are left alone to contemplate what is to be done.

Preorder

estoc - Scorched Earth (ft. Mia Carucci & Exploited Body)

I turned my obsession with Danny L Harle & pinkpantheress's 'Starlight' into this remix.

@dannylharle
@pinkpantheress
@xl-recordings

This version is pitched down 0.72 semitones for SoundCloud reasons. :')

Starlight (Exploited Body Remix)

~ all links ~
https://linktr.ee/thanksubi

Lost touch
Fading from memory
Come back to me
Time froze over
I sacrificed the past
To save the present

thank you <3 c:

One Thing For Another

Place Five

The brainchild of Helsinki-based experimentalist Nori Kin, Exploited Body is an audial paradox – where blistering distortion collides with delicate melody, and ethereal vocals oscillate between angelic lament and demonic invocation. Their music is a visceral experience, at once hypnotic and harrowing, luring listeners into a world of staggering emotional weight and sonic extremity.  

With releases on PAN, Posh Isolation, Northern Electronics, and their own imprint Changeless, Kin has steadily carved out a distinct presence in the contemporary experimental landscape. Their compositions stretch the boundaries of electronic music, fusing industrial abrasion, haunting atmospherics, and deeply personal narratives into something both intimate and overwhelming.

Nothing Remains

Helsinki • Est. 2019

info@changeless.net

Exploited Body - Tear Me Apart Until All That's Left Is Love

Changeless

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